"Dalí attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes"[3] to an "Arab lineage", claiming that his ancestors were descended from the Moors.

Dalí was highly imaginative, and also enjoyed indulging in unusual and grandiose behavior. His eccentric manner and attention-grabbing public actions sometimes drew more attention than his artwork, to the dismay of those who held his work in high esteem, and to the irritation of his critics.[4][5]"

"Dalí and Gala, having lived together since 1929, were married in 1934 in a semi-secret civil ceremony. They later remarried in a Catholic ceremony in 1958.[30] In addition to inspiring many artworks throughout her life, Gala would act as Dalí's business manager, supporting their extravagant lifestyle while adeptly steering clear of insolvency. Gala seemed to tolerate Dalí's dalliances with younger muses, secure in her own position as his primary relationship. Dalí continued to paint her as they both aged, producing sympathetic and adoring images of his muse. The "tense, complex and ambiguous relationship" lasting over 50 years would later become the subject of an opera, Jo, Dalí (I, Dalí) by Catalan composer Xavier Benguerel.[31]"

This seems to be a common theme in melon marriages- the guy straying actually proves his overall value, and that he keeps coming back cements her value in her own eyes.

"While the majority of the Surrealist artists had become increasingly associated with leftist politics, Dalí maintained an ambiguous position on the subject of the proper relationship between politics and art. Leading surrealist André Breton accused Dalí of defending the "new" and "irrational" in "the Hitler phenomenon", but Dalí quickly rejected this claim, saying, "I am Hitlerian neither in fact nor intention".[34] Dalí insisted that surrealism could exist in an apolitical context and refused to explicitly denounce fascism.[citation needed] Among other factors, this had landed him in trouble with his colleagues. Later in 1934, Dalí was subjected to a "trial", in which he was formally expelled from the Surrealist group.[25] To this, Dalí retorted, "I myself am surrealism".[20]"

"In 1939, André Breton coined the derogatory nickname "Avida Dollars", an anagram for "Salvador Dalí", a phonetic rendering of the French phrase avide à dollars, meaning "eager for dollars".[45] This was a derisive reference to the increasing commercialization of Dalí's work, and the perception that Dalí sought self-aggrandizement through fame and fortune. The Surrealists, many of whom were closely connected to the French Communist Party at the time, expelled him from their movement.[5] Some surrealists henceforth spoke of Dalí in the past tense, as if he were dead.[citation needed] The Surrealist movement and various members thereof (such as Ted Joans) would continue to issue extremely harsh polemics against Dalí until the time of his death, and beyond."

"Dalí also developed a keen interest in natural science and mathematics. This is manifested in several of his paintings, notably from the 1950s, in which he painted his subjects as composed of rhinoceros horn shapes. According to Dalí, the rhinoceros horn signifies divine geometry because it grows in a logarithmic spiral. He linked the rhinoceros to themes of chastity and to the Virgin Mary.[57] Dalí was also fascinated by DNA and the tesseract (a 4-dimensional cube); an unfolding of a hypercube is featured in the painting Crucifixion (Corpus Hypercubus)."

"Dalí employed extensive symbolism in his work. For instance, the hallmark "melting watches" that first appear in The Persistence of Memory suggest Einstein's theory that time is relative and not fixed.[29] The idea for clocks functioning symbolically in this way came to Dalí when he was staring at a runny piece of Camembert cheese on a hot August day.[76]

The elephant is also a recurring image in Dalí's works. It appeared in his 1944 work Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening. The elephants, inspired by Gian Lorenzo Bernini's sculpture base in Rome of an elephant carrying an ancient obelisk,[77] are portrayed "with long, multijointed, almost invisible legs of desire"[78] along with obelisks on their backs. Coupled with the image of their brittle legs, these encumbrances, noted for their phallic overtones, create a sense of phantom reality. "The elephant is a distortion in space", one analysis explains, "its spindly legs contrasting the idea of weightlessness with structure."[78] "I am painting pictures which make me die for joy, I am creating with an absolute naturalness, without the slightest aesthetic concern, I am making things that inspire me with a profound emotion and I am trying to paint them honestly." —Salvador Dalí, in Dawn Ades, Dalí and Surrealism.

The egg is another common Dalíesque image. He connects the egg to the prenatal and intrauterine, thus using it to symbolize hope and love;[79] it appears in The Great Masturbator and The Metamorphosis of Narcissus. The Metamorphosis of Narcissus also symbolized death and petrification. There are also giant sculptures of eggs in various locations at Dalí's house in Port Lligat[80] as well as at the Dalí Theatre and Museum in Figueres."

"Salvador Dalí's politics played a significant role in his emergence as an artist. In his youth, he embraced both anarchism and communism, though his writings tell anecdotes of making radical political statements more to shock listeners than from any deep conviction. This was in keeping with Dalí's allegiance to the Dada movement.[citation needed]"

"With the outbreak of the Spanish Civil War (1936–1939), Dalí fled from the fighting and refused to align himself with any group. He did the same during World War II (1939–1945), for which he was heavily criticized; George Orwell accused him of "scuttling off like a rat as soon as France is in danger" after Dalí had prospered in France during the pre-war years. "When the European War approaches he has one preoccupation only: how to find a place which has good cookery and from which he can make a quick bolt if danger comes too near", Orwell observed.[104] In a notable 1944 review of Dalí's autobiography, Orwell wrote, "One ought to be able to hold in one's head simultaneously the two facts that Dalí is a good draughtsman and a disgusting human being".[104]"

"Dali's religious views were a matter of interest. In interviews Dali revealed his mysticism. In his later years, while still remaining a Roman Catholic, Dalí also claimed to be an agnostic.[111]

When signing autographs for fans, Dalí would always keep their pens.[citation needed] Salvador Dalí frequently traveled with his pet ocelot Babou, even bringing it aboard the luxury ocean liner SS France.[112] He was also known to avoid paying tabs at restaurants by drawing on the checks he wrote. His theory was the restaurant would never want to cash such a valuable piece of art, and he was usually correct.[113]

Besides visual puns, Dalí shared in the surrealist delight in verbal puns, obscure allusions, and word games. He often spoke in a bizarre combination of French, Spanish, Catalan, and English which was sometimes amusing as well as arcane. His copious writings freely mixed words from different languages with terms entirely of his own devising.[citation needed]"

William Tecumseh Sherman, Union general during the American Civil War, subsequently Commanding General of the US Army.

Looks like a high-test Owl Melon to me, perhaps with some 'thal admixture in there...

possible occipital prominence on display here...

...but it looks more like backswept/fauxcipital here.

From Aeoli's post on Owls:

"Of all the edenic types, they are the most enthusiastic about violence in all of its forms.

It would be a mistake to characterize this enthusiasm as anything other than a form of lust. And just as men have to constantly control this feeling of lust, owl melons have to control their passion for violence. This, combined with charisma, gives their personalities a feeling of darkness that, in person, can feel like it’s enveloping you and dimming the lights."

Sherman was notorious for the scorched earth tactics he employed on his campaign through Georgia and subsequently the Carolinas, an approach he called 'hard war'.

Later, as Commanding General of the United States general, he advocated the annihilation of the Sioux and other Indian bands opposed to western expansion.

Some quotes of Sherman's:

"War is cruelty. There is no use trying to reform it; the crueler it is, the sooner it will be over."

"If they want eternal war, well and good; we accept the issue, and will dispossess them and put our friends in their place. I know thousands and millions of good people who at simple notice would come to North Alabama and accept the elegant houses and plantations there. If the people of Huntsville think different, let them persist in war three years longer, and then they will not be consulted. Three years ago by a little reflection and patience they could have had a hundred years of peace and prosperity, but they preferred war; very well. Last year they could have saved their slaves, but now it is too late.
All the powers of earth cannot restore to them their slaves, any more than their dead grandfathers. Next year their lands will be taken, for in war we can take them, and rightfully, too, and in another year they may beg in vain for their lives. A people who will persevere in war beyond a certain limit ought to know the consequences. Many, many peoples with less pertinacity have been wiped out of national existence."

"I regard the death and mangling of a couple thousand men as a small affair, a kind of morning dash — and it may be well that we become so hardened."

Most famously, addressing the 1879 graduating class of Michigan Military academy:

"I’ve been where you are now and I know just how you feel. It’s entirely natural that there should beat in the breast of every one of you a hope and desire that some day you can use the skill you have acquired here.

Suppress it! You don’t know the horrible aspects of war. I’ve been through two wars and I know. I’ve seen cities and homes in ashes. I’ve seen thousands of men lying on the ground, their dead faces looking up at the skies. I tell you, war is Hell!"

He seems a very dark and ferocious man, but with the self-control and intuitive understanding of mass violence necessary to act properly in the very worst of circumstances. Ultimately, his outlook is ethical in context. Men such as Sherman should be tasked today with scaring the rabbits into understanding the real-world consequences of mass insanity.

"War is cruelty. There is no use trying to reform it; the crueler it is, the sooner it will be over."

"If they want eternal war, well and good; we accept the issue, and will dispossess them and put our friends in their place. I know thousands and millions of good people who at simple notice would come to North Alabama and accept the elegant houses and plantations there. If the people of Huntsville think different, let them persist in war three years longer, and then they will not be consulted.

He seems a very dark and ferocious man, but with the self-control and intuitive understanding of mass violence necessary to act properly in the very worst of circumstances.

Click to expand...

Ultimately, this realism about the nature of war is why he beat Lee, who was otherwise the better general in every way. There can be no "gentleman's agreement" to preserve civility in a war between brothers.

Ultimately, his outlook is ethical in context. Men such as Sherman should be tasked today with scaring the rabbits into understanding the real-world consequences of mass insanity.

They can be easily confused. Eyeball height is what I use to define verticalscrunch. Koanic interprets it according to additional whole-face traits. Lidding is the percentage of eyeball covered by lids. So for extreme verticalscrunch it's hard to calculate lidding.

So del Toro is maxed out on verticalscrunch and his lidding is consequently indeterminate. Bardem offers medium vscrunch + medium lidding.

Pine is a good example of highishverticalscrunch with minimal lidding.

So in your terminology vertical scrunch corresponds quite well to lack of roundedness in the upper orbital rim, with some element of canthal tilt? Or is it simply supposed to be a way of denoting eye size?

So in your terminology vertical scrunch corresponds quite well to lack of roundedness in the upper orbital rim, with some element of canthal tilt? Or is it simply supposed to be a way of denoting eye size?

Does your 'crinklesock' refer to canthal tilt as well?

Click to expand...

Roundedness, yes, theoretically inverse relation.

Seems to be independent of canthal tilt.

No apparent relation to eye size, but one might make the other harder to accurately prescribe.